Displaying items by tag: Abraham DeitzGreen

I like theatre that’s deep, thoughtful, angsty. There’s much to be said for a play providing undemanding escape, but I prefer to challenge my mind, to make me think. And THE LOWER DEPTHS, as adapted by Grayson Kennedy for Gwydion Theatre Company, certainly did that. Don’t see this alone – you’ll want to talk about it afterward. And do not forget to take your Prozac!

The play is the second in Gwydion Theatre's "Season of Class", exploring classism in society. THE LOWER DEPTHS, written in 1902, explores themes of truth vs. illusion, hope vs. despair, through characters like a thief, a prostitute, and an alcoholic actor in a dreary flophouse on the Volga. The central conflict emerges with the arrival of a mysterious tramp who offers hope through stories and advice. However, hope cannot long survive the lodgers’ perpetually bewailing their travails and vicissitudes.

I was initially anxious about how such a large cast (13!) could operate in the confined space of Chopin Theatre. I personally love Chicago’s singular streetfront theatres, boasting perhaps 50 seats and 200-300 square feet of stage space. See, I like to be immersed in the players’ pheromone cloud, perhaps even bespattered with various bodily fluids.

Y’know, reading back over that, it doesn’t sound very inviting, but trust me on this. And trust Chicago as well – Gwydion is oner of the myriad smaller companies that showcase the multitude of superlative actors in this town. In decades of attending these storefront venues I’ve seen plays I didn’t like, I’ve been critical of some production decisions, but very seldom are the actors themselves disappointing. We are very fortunate here in Chicago. I only wish I could believe these professionals are earning paychecks commensurate with their skill.

Where was I? Oh yes, big cast; and I find myself unable to single out the players of individual characters. I always try in these reviews to praise each actor on their individual performance but between their sheer numbers and the peculiarities of Russian names I can but name the cast and beg the actors’ forgiveness:

Alex Levy (Vaska Pepel); Katherine Schwartz (Vasilisa Karpovna); Matt Mitchell (Mikahil Kostilyoff); Brynn Aaronson (Natasha Karpovna); Tommy Thams (Andrei Mitritch Kleshtch); Hannah Freund (Anna Kleshtch); Christopher Meister (Abram Medviedeff);Bryan Breau (The Baron); Evan Bradford (The Actor); John Nicholson (Satine); Howard Raik (Luka); Maddie Hillock (Kvashnya); Abraham Deitz-Green (Alyoshka); Maya Moreau (Swing); Grayson Kennedy  (Swing).

If I’m totally honest (and I owe this stellar troupe that much), even as it was playing, I couldn’t keep track of which character was who. To my relief, this did not interfere with my appreciation of the play and the performances, as it is actually in keeping with the theme of the play. THE LOWER DEPTHS tends to undermine the individuality of the characters: they are emulsified into a slurry of Poor People, faceless and nameless. In this THE LOWER DEPTHS mirrors the attitudes of our Administration: they’re po’ folks, not actual people with real needs and feelings.

Adapted by Maxim Gorky, he was more interested in the characters than in creating a formal plot. There’s no linear sense to the situations portrayed – a woman is dying; the landlord is heartless; everyone’s having an affair with someone – but these are only separate instances in their overall wretchedness. Tellingly, none of them acknowledge any kinship in their tribulations; no one ever says, ‘yeah, I know what that’s like’ or ‘something like that happened to me once’. Thus, while society depersonalizes them, each isolates themself within the siloes of their personal experiences.

Luka, an elderly tramp, arrives with a philosophy of consolation and a better life. Reactions to this message - this theme of harsh truth versus the comforting lie - pervades the play and divides the inhabitants into opposing camps of the hopeful and the realists. Most of them choose to deceive themselves rather than acknowledge the bleak reality of their condition, leading inevitably to violence and death.

Oi! I’m supposed to be encouraging you to see this play, but you’d need to be, like me, a real angst enthusiast to be attracted by my description! But if you do like exploring the depths of desolation; the frequency of forlornness; the drama of dreariness … then THE LOWER DEPTHS is the play for you!

The production team included its artistic directors Tommy Thams and Grayson Kennedy and was drawn largely from Gwidion company members. Scenic Designer Hayley Wellenfeldt and Morgan Kinglsey created a monochromatic and versatile set with Lighting Designer Sam Bessler effectively defining scenes and characters. Costume Designers Cindy Moon and Grace Weir differentiated the subtle differences between, say, the actor and the Baron. Sound Designer Rick Reid sourced authentic Russian period music while Stage Manager Katie Espinoza pulled it all together and put it out there fluidly.

The Lower Depths is the first time in Russian literature that society’s outcasts took center stage in a drama. In claiming importance and humanity for a class that Gorky described as “ex-people” and “creatures who were once men,” he moved Russian drama into the political and social arena that would lead to revolution. May that purpose prevail in our own trying times!

THE LOWER DEPTHS plays at Chopin Theatre through February 28 - https://chopintheatre.com/.

RECOMMENDED

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Uptown Music Theater Highland Park hits all the right notes with their electrifying staging of Hairspray - a radiant production bursting with kinetic energy and a message that feels as relevant today as it did in the 1960s. Under Tor Campbell’s dynamic direction and deft choreography, the show dazzles with retro flair, reimagining John Waters’ cult classic into a kaleidoscope of color, sound, and joy.

Set in Baltimore’s swinging ‘60s, the story follows Tracy Turnblad, a teen with sky-high hair and sky-higher hopes, whose winning moves and spirited charm earn her a spot on the Corny Collins Show. But Tracy’s dance floor debut sparks more than fame—she becomes a beacon of change, confronting segregation and defying conventional beauty standards with boldness and heart.

Beneath the glittering costumes and high-octane choreography, Hairspray hums with sharp-witted satire and a powerful call for inclusion. At its emotional core is Edna Turnblad—portrayed, in true tradition, by a man in drag—whose journey as Tracy’s mother weaves humor and heart into the show’s celebration of self-acceptance. From the dreamy swell of “I Can Hear the Bells” to the adrenaline rush of “You Can’t Stop the Beat,” the production dazzles with theatrical flair while staying rooted in its message: that joy, justice, and rhythm are revolutionary forces in the face of convention.

Taking place at Highland Park High School, scenic designer Bob Knuth absolutely goes off and transplants theatregoers into the early 1960s incorporating even the tiniest details of that mod era into his set. The visuals are complimented by Ben Argenta Kress, who deftly fashions the costumes that really recreate the youthquake movement. If, like myself, you love the style of the early 1960s, you are in for a big treat.

Scott Spector (Edna) and Grace Hall (Tracy) in 'Hairspray'. 

Grace Hall radiates charisma and talent in the role of Tracy Turnblad, winning over the audience almost instantly with her spirited performance of “Good Morning Baltimore.” From that opening number onward, Hall proves irresistible - charming, confident, and utterly delightful. Her portrayal not only anchors the show but makes Tracy’s journey feel personal and empowering.

The cast surrounding her is nothing short of exceptional, each performance adding texture and warmth to this buoyant production. Lily Ramras brings sweet sass and impeccable timing as Penny Pingleton, Tracy’s quirky best friend, while Erin Kelly gives a wonderfully neurotic turn as Penny’s uptight mother, Prudy. Abraham Deitz-Green dazzles as love interest Link Larkin, showcasing smooth vocals and slick dance moves that light up the stage. Ajene Cooks as Seaweed J. Stubbs is a showstopper - his graceful, razor-sharp choreography and rich, emotive voice makes each of his scenes feel electric.

Scott Spector delivers a riotously funny and heartfelt portrayal of Edna Turnblad, balancing outrageous humor with surprising vulnerability. As husband Wilbur, Corey Mills holds his own beautifully, drawing laughs with his understated charm and seasoned comedic instincts.

Sharon Miles brings soulful gravitas as Motormouth Maybelle, her vocals soaring with both power and emotional nuance - she stops the show in the best way possible. Ethan Lupp brings irresistible pep and charisma to Corny Collins, while A’mia Imani charms as the spunky Little Inez, adding vibrant energy to every scene she’s in.

And the hilarious mother-daughter antagonists, Velma and Amber Von Tussle, portrayed by Emma Jean Estlund and Rebecca Mactaggart respectively, are a gleeful spectacle of comic flair and exaggerated villainy. Their performances strike just the right balance between camp and conviction, elevating the production’s satirical edge.

The dancing is as tight as it gets and the vocal efforts are admirable, thanks to an amazing ensemble that is positively fun to watch. Put it all together and we have one heckuva production!    

“This cast is electric,” said Director Campbell. “They’re not just learning steps—they’re channeling the heartbeat of a movement. Hairspray might be wrapped in beehives and bops, but it’s about what it takes to be seen, to be heard, and to break through. This isn’t just a show—it’s a joyful rebellion.”

Since its Broadway debut in 2002, Hairspray has transcended its status as a feel-good musical to become a vibrant cultural touchstone. With the infectious energy of its early ’60s setting, it boldly tackles issues of race, body image, and social justice—shining a spotlight on the entrenched inequalities of the entertainment world. Tracy Turnblad’s transformation from eccentric teen to fearless activist echoes the spirit of the Civil Rights Movement, challenging audiences to confront the biases that linger beneath today’s bright lights and big stages.

What elevates Hairspray beyond standard musical fare is its ingenious blend of breezy fun and pointed activism. Through catchy tunes and unapologetic camp, it makes complex social issues—race, representation, body image—accessible without losing their emotional bite. Motormouth Maybelle anchors the story with soul and gravitas, voicing resilience and hope with every powerhouse note. And when the Corny Collins Show bursts into full integration, it’s not just plot resolution - it’s a euphoric emblem of youthful rebellion and transformative spirit. Hairspray reminds us, with glitter and grit, that joy can be revolutionary and identity unapologetically bold.

Highland Park High School’s theater is a wonderful venue for theatrical productions, especially one like this with such a large cast and a 20-plus-piece orchestra led by Aaron Kaplan. Inside, every corner radiated charm, cozy enough to feel personal, grand enough to feel electric. When the lights dimmed and the music sparked to life, the whole theater seemed to take a collective breath. And as the performers lit up the stage, the room itself responded, alive with applause and laughter, while soaking in the whole-hearted moments. I didn’t just watch the show—I got swept up in it.

It’s a shame the run was so brief—just two weekends, wrapping up on August 3rd—because I would’ve loved the chance to experience it all over again. That said, Uptown Music Theater Highland Park left an indelible mark. Their production was so polished and heartfelt, it’s made me genuinely excited to see what they deliver next. They’ve certainly earned a spot on my radar. For more information on this fantastic theatre company, visit http://www.uptownhp.org/.

Highly recommended for audiences of all ages!

*This review is also featured on https://www.theatreinchicago.com/!